Shizukana Yoru
1435939208_28526826.jpg ''Appearance'' BiancaMontoya.jpg tumblr_nwv3ia2jFs1tyl5a8o7_r3_500.jpg imagemmm.jpeg anime-black-and-white-girl-shingeki-no-kyojin-Favim.com-3751668.jpg 644e3f2401005452d60c933736c9d42c.jpg tumblr_n9n1q6pPu61tzl40vo1_1280.jpg ''Behaviour/Personality'' Kana would be considered someone distant, and silent, hence her name. She's not much of a person that shows sadness or happiness or... well, ANY emotion actually. Kana is usually calm and collected during her attacks. She shows no remorse to her actions, even killing the man who was like a father to her without mercy. She doesn't seem to have any interest in a love life and disregards all 'friends' that she has. While no one would really know, the emotion that drives her life the most is her absolute fear of what she committed. She is constantly hounded by the spirit of a man she killed; every time she turns around she sees a remnant of him. Her mind constantly replays events with this man to the point where she will make a vocal response to someone not there. Most people would assume she’s silent, but Kana is actually trying to focus her mind on anything but what her mind is conjuring. While she is very alert to her surroundings when she needs to be, on the whole she’ll space out. These massive gaps of time where she stares at nothing can last for an entire hours and she sometimes tries to physically attack what she is dealing with. The best way to think of it is Kana is someone who is straddling two different realities at once, one of which she wants to be free of. The entire world goes on around Kana, but she doesn’t really emotionally respond to it. Kana can talk and acknowledge the world, but she doesn’t really seem to “feel” anything about it. Someone can (and has) confessed their love straight to her face and she can ignore it or simply demean it. She doesn’t really get mad, sad, jealous or scared. It’s comparable to say that she doesn’t really care about the consequences of anything she does. That’s not to say that Kana can’t smile, she seems to take a certain delight in telling people how they are about to suffer because of her. While she may not use emotions, she certainly knows how people react to certain situations and thus makes preparations based on the emotion that someone is exhibiting. There are some emotions ( like love) that she doesn’t understand, though it seems that when someone is willing to die for the way they feel; she finds interest in the emotion and might research it in a subtle way. This is actually something that Kana is very proud of. She believes that her hate is a source of power and conquering it makes her extremely strong. The hate she feels comes from losing her chance to ever have a normal life. She learned to become a killer and nothing else. Realizing the emptiness of that fact, she killed the source of her hate. Another person took her place and was going to follow down the exact same path, but this girl was left alive. She uses her own hate to fuel her reason to cause destruction and gain control. It ''is the reason she can watch someone suffer and smile while it is happening, it also what had killed off her emotions. Since she has been corrupted by this feeling, she feels like everyone else is too. Since everyone has it, if she is capable of mastering the emotion then she’ll be better then those that are controlled by their own hate.'' ''Fighting Style'' '''Aikido Kana uses aikido. Aikido is a Japanese martial art developed by Morihei Ueshiba as a synthesis of his martial studies, philosophy, and religious beliefs. Aikido is often translated as "the Way of unifying (with) life energy" or as "the Way of harmonious spirit." He creates an art that practitioners could use to defend themselves while also protecting their attacker from injury. Aikido is performed by blending with the motion of the attacker and redirecting the force of the attack rather than opposing it head-on. This requires very little physical strength, as the aikidoka (aikido practitioner) "leads" the attacker's momentum using entering and turning movements. The techniques are completed with various throws or joint locks. Aiki-jujitsu can be broken into three styles: jujitsu (hard); aiki no jutsu (soft); and the combined aikijujitsu (hard/soft). Modern Japanese jujitsu and aikido both originated in aiki jujitsu, which emphasizes "an early neutralization of an attack." Like other forms of jujitsu, it emphasizes throwing techniques and joint manipulations to effectively subdue or injure an attacker. Of particular importance is the timing of a defensive technique either to blend or to neutralize an attack's effectiveness and to use the force of the attacker's movement against him. Daito-ryu is characterized by ample use of atemi, or the striking of vital areas, to set up joint-locking or throwing tactics. Some of the art's striking methods employ the swinging of the outstretched arms to create power and to hit with the fists at deceptive angles, as may be observed in techniques such as the atemi that sets up gyaku ude-dori (reverse elbow lock). Kana regarded one of the unique characteristics of the art to be its preference for controlling a downed attacker's joints with one's knee to leave one's hands free to access weapons or to deal with the threat of other attackers. Tai Chi Tai Chi mentions the eight basic methods of practice: Peng (ward-off), Lu (rollback), Ji (push), An (press), Cai (grab), Lieh (Break), Zhou (elbow strike), and Khou (shoulder strike). When performing the eight basic methods, the force is directed from the middle finger of the palm. The five fingers are closed to each other and relaxed. The hand leads the elbow, and the shoulder follows. The shoulder also rotates with the waist. This spiral action, whether it is directed forwards, backwards, upwards, or downwards, must be crisp and well defined. At the end of the move the shoulders and elbows are relaxed and sunken. There is a feeling of fullness in the fingers. In Tai Chi the navel and the nose form a centerline. The left and right hand control its corresponding half of the body. When the left hand is traveling to the right, or vice versa, the hand should point toward the tip of the nose when traveling up, and toward the tip of the foot while coming down. This way the whole move will not deviate from the midline and the body remains balanced and comfortable. To maintain the flow of Peng force throughout the form is a skill that can only be achieved with years of practice. The student has to pay special attention to appreciate this phenomenon. As to how deep the breathing and how large the force should be used during a practice to achieve the Peng force, I can suggest a simple criterion. Just as a person bends forward to lift an object from the floor, the power generated by this intentional and yet subconscious act is roughly equivalent to the force of the Peng. Once the person straightens up his body the force is not the same as Peng. So one can say the force either stronger or weaker than that of bending forward to lift is not Peng. If a student can sustain the right amount of force, his qi will not be lost. The alertness helps to detect the strength (listening energy) of his opponent. Lu is another basic method of Tai Chi. It is also one of the four direct forces. Lu is frequently used in the Chen Style combat. The power point of Lu is on both wrists. When applied together with rotation of the waist Lu redirects the momentum of the opponent, leading him astride. The saying of “four teals of force can move thousand pounds” about Tai Chi actually is a reference to Lu. During the move the body has to be coordinated: the energy point has to be precise, the shoulders and elbows are lowered, and the qi flows down the spine. The neck and the tailbone form a vertical line and the posture of the body is kept straight. The spine becomes the central axis and the waist rotating around it like a wheel. When the waist and spine turn together smoothly, the force of the opponent is diverted to either side of the body. The more the hands and the waist coordinate, the stronger the power of the Lu. At the point of contact the move should be light, precise, quick, and continuous. With the rotation of the waist the forward momentum of the opponent is unchanged, nonstop, and unbroken. His speed is suddenly exaggerated, and a lack of compensation invariably results in a loss of balance. Lu can be performed with one or both hands. The one-handed move is used during the transition from Twist Step (Ao Bu) to Hidden Hand Punch. In this sequence, the right hand diverts the charging opponent by an upward and backward action. Simultaneously the right footsteps forward and a punch are delivered at a close range. The two-handed Lu is seen in a number of sequences, such as the Oblique Form, and Green Dragon rising out of Water converting into Both Hand Push. The force of Lu cannot be dissociated from that of Peng (ward-off). Otherwise its energy will crumble. As that happens, the rotational force of the waist cannot be fully expressed and the Lu generates much less power, leading to a substandard effect. This point deserves special attention. Ji is also one of the eighth basic methods. It belongs to the direct forces and is frequently applied in the Chen Style Tai Chi Chuan. When used in a close range Ji can cause an opponent to lose balance. It is also an extension of Peng, aiming to compromise the attacker. Ji can be delivered in a number of ways: using one-hand, both-hands, the elbow, the shoulder, the chest, the back, the hip, or the thigh. The move can be adjusted at anytime. It can assault the opponent if he is holding back. When he moves forward, Ji can displace his momentum to miss the target. Ji is a technique used in close range, so the body must be stable. This provides flexible mobility and maximal adaptability during combat. An (press) is one of the eight basic methods and is another of the direct forces. It is a common technique in Tai Chi Chuan. An means to close and to shut down. Its focal point of force is transmitted from the center or the root of the palm, while the center revolves around the waist. The energy (qi) is accumulated in the tan t’ien. An can be delivered with one or both hands. The proper posture of An dictates that the shoulders be sunken and elbows submerged. With folding the chest and loosening the waist, the body is kept erect while the qi descends to the tan t’ien. The turning of the waist brings the whole torso into motion, coordinating the upper and lower body into a single compact system. “Both hands have to sink downwards, otherwise the shoulders would be elevated, rending the form useless.” Therefore it is critical to make sure the shoulders and elbows are sunken in order to express the power of An. '' ''Cai is another of the eight basic methods. It is one of four indirect forces. In Chen Style Tai Chi Chuan, Cai is basically meant grab and hold (qin na). There are many ways to deliver Cai, including single Cai, double Cai, elbow Cai, and chest Cai. Almost any part of the body can be integrated into a Cai move. To understand and execute Cai in Tai Chi, the practitioner must first acquire the skills of detecting, neutralizing, and applying force. These skills are essential to perform this basic method of Chen Style Tai Chi. In Cai the movement of the body and the footsteps merge beautifully, creating agility and variations. Whether it is grab or counter grab, hold or reverse-hold, this basic method is very practical. When Cai is used, concrete and fathom forces are often alternated and intermingled, making it hard for the opponent to anticipate. The essence of Cai is to maintain a sharp eye and a quick hand, targeting the muscles and the joints of the opponent. The goal is to strike the bones and grab the ligaments, rendering him defenseless. These are the basics of grab and the essences of hold (Cai). Lieh can be applied by single, double, outward, inward, upward or downward action. For example a single Lieh can be used when the opponent grabs my collar. Using the principle of leverage I spiral downward my body and roll my arm upward, attacking his elbow joint. The single Lieh can be delivered in a flash and causes significant damage. It should be applied with precision and caution. The double Lieh and the downward Lieh are easier to learn, but the amount of force exerted requires special attention. The execution of the outward lieh, inward lieh, and upward Lieh requires a sharper turn of the body. These moves are prone to cause injury to the elbow and arm of the opponent. Zhou can be executed in a number of ways: single Zhou, doubling Zhou, flow Zhou, Zhou across the waist, Zhou to the heart, upswing Zhou, back-breaking Zhou, back-to-back Zhou. Single Zhou is used most often. For example in Shield Heart with Elbow, the move involves single Zhou. In 38 Section Routine switching from Oblique Form to Buddha Stump the strike is an across the waist Zhou. During the transition from Ground Hitting Punch to Double Kick involves the backbreaking Zhou. The last few moves in Cannon Fist consist of several Zhou moves: across the waist Zhou, flow Zhou, Zhou to the heart, and back-to-back Zhou. The move after “Go Straight with Left Palm into the Well” is a double front Zhou. In Xin Jia a step-back downward pressing Zhou follows Reverse Rolling of the Curtain. '' ''Khou is one of the eight basic methods of Tai Chi. It belongs to the indirect forces. Khou is also an explosive strike delivered at close range. The method uses parts of the body between the shoulder and the knee to attack. For example: shoulder strike (inside or outside shoulder), and chest strike. If the attacker tries to encroach from the front, I will use Peng to neutralize his action, followed by chest strike to hit his upper body. If the attack tries to wrap around me from behind, I will quickly fold my chest and loosen my waist. This will be followed with a back strike to the chest of the attacker. There are also Khou striking with the hip and the buttock. CHI-BLOCKING One must know of all the pressure points in the body, from the weakest to the greatest, in order to perform Chi blocking. When chi-blocking, whatever point the user hits on the victim, though it must be a precise point, it would end up failing, and the victim's body part would be rendered useless. DITANGQUAN 'Ditangquan, (Chinese: 地趟拳, literally "ground tumbling boxing") is a category of martial art that originated in the Shandong Province of China during the Song Dynasty (960-1279).The major characteristic of ditangquan is the ability to perform tumbles, falls, turns, somersaults and aerial acrobatics using those techniques for both offense and defense.Since the time of its origin, this martial art has spread throughout China and has been incorporated into other martial arts styles. Although ditangquan exists as a traditional style, extant versions of it were unknown to the Chinese modern wushu coaches and players of the 1970s; as a result, a "new" version of ditangquan was created based on the tumbling techniques of monkey and drunken styles, but without the characteristic monkey or drunken movements. Today, traditional versions of ditangquan can still be found included as parts of other styles, such as in chuojiao, or as separate martial arts, such as Fujian góuquán (dog style); in the traditional styles, there is less emphasis on tumbling and more emphasis on attacking and defending while falling on the ground. In modern wushu, however, the "new" ditangquan remains a common style used in competition today.'' TAEKKYEON Taekkyeon contains many kinds of techniques, including hand and leg techniques as well as joint locks, throws and head butts. The whole body is used in each movement. Taekkyeon teaches a great variety of kicks, especially low kicks, knees, jumps. The basic steps are geometric and at the core of all advanced movement. All movements are natural to the human body. The movements of Taekkyon are fluid with the practitioners constantly moving. One of its most striking characteristics is the motion called gumsil or ogeum jil: It is a constant bending and stretching of one's knees, giving the art a dance-like appearance. This motion is also used in the Korea mask dance talchum, so both arts look similar in a way. Taekkeyon does not make use of abrupt knee motions. The principles and methods used to extend the kick put more emphasis on grace and alignment for whole-body strength, as with the arm motions. In competition, the players must use a foot work called pumbalkki (품밟기) which looks like a dance. The meaning of pumbalkki is "to step the pum". Pum refers to the triangular look of the hanja 品, as pumbalkki has a triangular form as well. The hanja pum means "level" or "goods", but it is used only because of its shape, not because of its meaning. There are no set forms nor a fixed curriculum within the traditional system. Masters may create their own personalized system for teaching the basic techniques. Taekkyeon uses a lot of high, medium and low kicks. Sweeps with straight forward low kicks using the ball of the foot and the heel and flowing crescent-like high kicks. There are many kicks that move the leg outward from the middle, which is called gyeot chagi, and inward from the outside using the side of the heels and the side of the feet. The art also uses tricks like inward trips, wall-jumping, fake-outs, tempo, and slide-stepping. The art is also like a dance in which the fighter constantly changes stance from left to right by stepping forward and backwards with arms up and ready to guard, blending arm movements with leg. SUMMONING Summoning Puppet Technique - The Summoning Technique is a space–time ninjutsu that allows the summoner to transport creatures across long distances instantly via blood. '' ''Before a creature summoning can be performed, a prospective summoner must first sign a contract with a given species. The contract comes in the form of a scroll, on which the contractor uses their own blood to sign their name and place their fingerprints and once signed it is valid even after the contractors death as long as the contract itself remains intact. After this they need only offer an additional donation of blood on the hand they signed the contract with, mold their chakra with hand seals and then plant the hand they signed the contract with at the location they wish to summon the creature. The amount of chakra used during the summoning determines how powerful the summoned creature can be. It should be noted that anyone can summon a contracted creature as long as they have the blood of someone who has made a contract, the seal of the summoned creature and a source of sufficient chakra that the summon will accept. A creature is capable of determining who is attempting to summon it from the chakra used. ''Weapon of Choice'' KATANA: Kana has been greaty gifted the art of swordsmanship. During her life as Rin Awashima, her father had signed RIn in a fencing class, and after only two months of what it took years for the members that were currently enrolled in the program, she had become the Assistant Head Fencing Director. After her time was done at the Fencing Academy, she enrolled herself in a defense class, and after succeeding in that, there was Weaponry, where she took a great liking to the use of Kamas and Katanas and had become part of the top 5 in her district, claiming the title of one of the best swordsmen... women thing. KAMA: Kama made with intentionally dull blades for kata demonstration purposes are referred to as kata kai, is a traditional Filipino and Japanese farming implement similar to a sickle used for reaping crops and also employed as a weapon. The kama is often included in weapon training segments of karate, silat and in some Chinese martial arts. The kama can be used singly or in pairs. Both the point and sharpened edge of the metal blade are called into use, Okinawan kata suggesting that it could also be used to block, trap and disarm an opponent's weapon. The point at which the blade and handle join in the "weapon" model normally has a nook with which a staff can be trapped. The edge of a traditional rice sickle continues to the handle without a notch, as this is unneeded for its intended use. The hard edge of the blade would be kept razor-sharp to enable efficient cutting of crops, though this is sometimes a cause of training accidents by unskilled wielders, for whom blunt training versions of the weapon are created. This weapon not only is very sharp and can inflict damage, but is also said to hold a fear factor against the opponent. HAND-TO-HAND COMBAT: Though Kana enjoys the use of weapons, she excels in hand-to-hand combat which she has grown up to learn along the way after the death of her biological parents. Shimizu Yoru had taught her the basics, and from then on she learned from fights on the streets, experiencing a few herself. In the end, she always came home with a few new bruises. CHAKRA STRINGS ''The User can use chakra strings to trip cause bodily harm to their opponent. Users can also use chakra strings to control a person like a puppet. This technique is limited to one main string per finger for normal humans, but skilled users are able to emit enough strings to control over one hundred puppets.''' ''Chi Allignment '' large (1)jj.jpg largenhh.jpg tumblr_n5w7kukEfO1qdzszpo1_500.jpg '' The Satsui no Hadou (殺意の波動, Satsui no Hadou, literally "Surge of Murderous Intent"), also known as the Dark Hadou (ダーク ハドウ, Daaku Hadou, Dark Surge), is a type of chaos energy and a demonic force.Satsui no Hadou is a form of Ki that emanates greatly from oneself through the darker aspects of natural human instinct and the desire to survive, to trample, and impose over opposition, and on a metaphysical level, the natural occurrence and manifestation of loss, decline, and destruction.To tap into the ki of the Satsui no Hadou, a fighter must be so consumed with the desire to win or have such an intense rage, that they are willing to kill. Only people who push themselves to be the best at all costs, can take full advantage of it. So even with a high level in combat, there would still be much to be done. For those who do succeed in controlling it, they develop a cold, cynical detachment from themselves, as well as others. As such, Satsui no Hadou makes a person unbelievably strong, but at the cost of one's humanity and compassion, making them emotionless almost or almost insane if decided to let it consume them. Another side-effect of this power is that when a warrior embraces the Satsui no Hadou to their fullest extent, they will gain a lust to fight to the death, their eyes will turn white or red, and their beliefs in fighting become very dark and cold-blooded. The warrior's personality will also change and become very violent and dark. However, as shown in the case of Goutetsu, if one embraces it to a small degree, their eye's pupils will become blue, and they will have no willingness to destroy anything or anyone. Once a warrior has awoken the Satsui no Hadou within them, it can be very hard to resist. Learning Satsui no Hadou is the first step in learning the most fatal technique known to all of their martial arts, meaning everyone has a general knowledge but only when they train and master the martial arts can they fully use it. ''Allies/Enemies'' The Sangokushi Yin Sato Katsumi Yoru Usagi Tanaka Kaida Yoru-Tasanagi Kaiden Tasanagi ''Background'' Kana was born into a wealthy family, but she had a different name. Her previous name was Rin Awashima. She was a spoiled child; everything was given to her without hesitation. Money, jewelry, you name it. She grew up with no worries; no bad things came in mind. She smiled like there wasn't a worry in the world, having fun and playing with her mother and father. And then there was the fire. Flames consumed the halls and the rooms one by one. Rin ran to her mother and father's room, holding her stuffed bunny in her arms, and screamed at the top of her lungs. She watched as her father fell to the floor after a blade impaled the center of his chest, covered in a deep rich red. She glanced down and saw her mother scrawled across the floor, arms and legs twisted in such positions, it caused bile to rise up her esophagus. As the blade slid out of her father's chest, she looked straight into the eyes of her parents' murderer. Whoever he was, he swung the katana in mid air, her father's blood splattering on her face as it slid off of the edge of the blade. She ran away as fast as she could, pushing over things as she passed by, hoping to slow down the murderer. She passed by a window, and without thinking, jumped out of it. The glass landed around her, a piece of it clashing against the side of her leg. It wasn't so bad if one got past the tingling sensation; the cut wasn't so deep either. She crawled into the forest that surrounded her home, hiding behind a stump and covering herself in the fallen leaves and mud. She held onto her bunny, tears dripping down her face. Minutes passed, and then hours. Rin finally sat up and came out of her hiding place, only to be picked up by a stranger. She kicked and screamed, trying to get away, but the stranger held a tight grip on her. He covered her mouth and then lifted his index finger to his lips, signaling her for silence. She did as he said, holding down her cries. There was a crunching of leaves, and then a couple of voices. She could barely make out what they said. Something about "...lost her? You fucking idiot..." Then more voices came. "...coming. Let's move..." They were in hushed whispers, and then the voices faded, as did their footsteps. Rin and the stranger both let out their breaths they've held in for what seemed like an eternity. "Who are you?" He answered quickly. "Someone that wants to help you. Come with me, and you'll be safe." I can't trust him, but... but I have too. It'll only be temporary... Oh how wrong she was. It seems as if it's such a distant memory now. She was grown now, with a job and good pay. The man that saved her was her father now. Shimizu Yoru was his name, and she, his only daughter, Shizukana Yoru. A middle class family. Just them two. What seemed as a perfect life again after so long of pain, she was finally starting to love this new life. Rin Awashima was no more. Right at the point where she began to smile again, Shimizu's death had sealed the lock on what kept her from smiling anymore. He was murdered the night before her birthday. He had gone out to buy her a gift, and on the way home, a couple of thugs jumped him. He fought back, and did his best. They killed him, took all his money. When the Police came to notify Kana, all that he left was a silver chain, with a crescent moon that hung from it, the Japanese symbol for "Yoru" embedded in the back. No more smiles. No more happiness. Just... ''----'' It's been... what 10 years? Yeah. 10 years since Keyth Tasanagi 'passed'. 10 years since that day where chaos filled the air. "I wonder how Yin is doing..." Over that time period, Kana married to a famous musician and had a baby girl and named her Alex Sky. She lived a pretty good life until the night when her home was ambushed by other assassins. She couldn't taken them on if it weren't for Alex and her husband and she ended up getting stabbed through her chest just right above her heart. "R-run.. Alex..." Kana usually had her alarm with her whenever she needed Yin, and Yin came just in time to fend off the last of the assailants. "Go find.. Alex.. and raise her, please, Yin." She looked over to her husband who lay dead with his chest wide open. Of course Yin did as she asked. A 'dying wish'. Once Yin left and looked for Alex, Kana tried to get up again and it seemed reinforcements came and one gave one good blow to the side of Kana's head and knocked her out cold... '' ''After what seemed to be like an eternity, she came too and found herself staring into mirror, seeing herself tied down and strapped to a wooden chair, clothes torn to shreds and body covered in blood and cuts. "Where.. am I?" She couldn't remember anything.. nothing but her name and where voices overlapped each other and the same name ran through her head over and over again. "Kana. Kana. Kana. Kana. Kana." She screamed at the top of her lungs and pulled at her restraints with all the strength she had left in her and broke free before standing up warily, swaying back and forth. "Where the FUCK AM I!?" Her voice boomed in room and a slow clap started from behind her and she turned, finding a man with snow white hair and pale skin to fit him perfectly. "Hello, Kana, dear.. Do you remember me?" He lifted up a hand and then two men, standing at a height near 6'5", stood on each side of her, and then they attack, but even with her wounds, Kana's senses where still intact as was her speed and she easily broke their necks with a simple twist of her wrist. She broke past the man in white and burst through the doors, breathing hard as she just raced into the night. "You can't run forever, Kana..." '' ''She rested upon the branch of an old red wood tree in the forest. "What the fuck is going on..?" She couldn't remember anything. Nothing but her name. For 7 months, she roamed from District 1 and 2, seeing if she could find anything to jog her memory, but that blow to the head really did her in. And then... she stumbled onto an orphanage that had such a commotion it caught her attention. She looked in from the window and could hear everything, and then her eyes fell onto a little girl of the age of ten. Hearing the caretakers and other kids talk bad about her, kinda angered Kana, so she stepped inside and claimed the girl as her own. "My name is Kana. Shizukana Yoru. But... you can call me 'Mom'." For the next five years, Kana raised Katsumi as her own, teaching her self-defense and other assortments of martial arts. But little by little, things started to come back to her, bit by bit, and it all started with the moon. As of now, Kana works as a prison guard, and her shifts are mostly at night, seeing as that no hospital will take her. I wonder why. ''---'' Kana has finally reunited with her biological daughter Alex Yoru, and best friend Yin Sato after five long years. Not only has Kana returned, but she's cheated death three times. Once during Keyth's funeral, another while protecting her family, and the most recent happening while on a rescue mission for the First Squadron of RENEGADES, Soyokaze Umi, Jules Raine, Winter Carnes, and Teto Fung. Now, she's become a pulbic figure again after her so called return of her 'alleged' death. She carries the title of Oyabun of the Yoru Cl-+620an, and Lady of the Night to Kasaihana City. '' 5b990aa4a10294e78a653723dcd51c5f.jpg '' ''Roleplay Selection'' ''APPROVED BY'' Chairman Tasanagi (talk) 09:41, December 9, 2013 (UTC) Category:Sangokushi Category:Yoru Family Category:Assassin Category:Ana's RPCs Category:Generation 1